Drone Records
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Format: CD
Label & Cat.Number: Dronedisco FIG.87
Release Year: 2006
Note: in box with pin
Price (incl. 19% VAT): €13.00

More Info

"Five tracks, totaling approximately fifty minutes by the time-defying duo of MATTHEW BOWER (SKULLFLOWER, RAMLEH, SUNROOF!, TOTAL) and MARCIA BASSETT (DOUBLE LEOPARDS, GHQ, ZAIMPH) collaborating with C. SPENCER YEH, ROBERT BEATTY, and TREVOR TREMAINE (the latter two of HAIR POLICE, EYES AND ARMS OF SMOKE, SICK HOUR). Originally released as a tour merch CDR, this edited and re-sequenced edition begins with an appropriate invocation and from there punches blindly through one stone cloud after another, coughs and gasps from exhaustion, stumbles and lies motionless. The ritual concludes with a moment of naked acoustic/instinctual spasm. Packaged in a black polycase with black-and-white inserts and a special randomly-selected one-inch button (five button variations in all). All different material from the companion volume HG/BxC II released by the Heavy Blossom label." [label info]

".... And what in fact happens, is a big sprawling chaotic blown out spaced out free rock noise jam. The addition of drums makes a huge difference, grounding the sound in 'rock', but said drumming is free and abstract enough to let the music breath and expand and spread out like a black fog. The opener is a static Dead C style jam, a simple plodding beat, cymbals and kick drum mostly, while all around, dizzying swirls of guitar fuzz and thick swaths of distorted synth, and in there to some damaged electronics and of course some of Yeh's FX drenched violin. The backdrop is a constantly shifting swirl of noise and sound, but the simple plodding rhythm makes it sound like some ultra gritty lost krautrock rehearsal tape.
The second track is a bit more unhinged, the background of the first song, brought to the fore and allowed to swallow everything up.
The drums this time are just an incessant clanging buried in the mix, like a railroad crossing bell heard from within a tornado. Part way through some of the noise seems to coalesce into sort-of-riffs, and suddenly it a strangely propulsive slab of white hot white noise, albeit with a bit of groove to it. The next track is the most melodic, a gothy, doomy sort of glacial dirge, almost like an ultra lo-fi Hawkwind, crushing drums and more of that noisy blown out squall jammed into every crevice. The drums drop out almost entirely for the next number, the guitars and synths and violins and vocals spread out into long effulgent streaks, super noisy, but strangely hypnotic and dreamy.
The final track is a sort of throwaway, a brief sputter of creaks and clatter, scrape and grind, angular and atonal, a blown out noise coda, but it's the loooooong tracks that make up the rest of the record that really hit the drone-dirge-noise spot.
Packaged in a cool, black plastic case with a black and white cover, black and white insert, and each copy includes a button, one
of 5 different designs chosen at random." [Aquarius Rec.]